A Studio Archive: Sessions, Takes, Versions Nobody's Relistened To

A recording studio accumulates hundreds of sessions over the years: rough takes, alternate versions, client material nobody's touched in ages. Finding a specific version of a specific track means remembering which of hundreds of folders it's sitting in.

Digercules transcribes and catalogs the recordings: what's on each session, which takes are duplicates of the same material, which versions are final and which are rough, who the performer is, if that can be determined from the content.

How it works

Processing runs either entirely on the client's own hardware, or — if that hardware isn't powerful enough — is delegated to a specific external machine over a closed peer-to-peer channel (not a public cloud): the compute is physically located in the Caucasus and Eastern Europe, the client is always told explicitly which machine and which jurisdiction is doing the processing, and only text/structured results come back — never the source files. Client audio stays under the same access control — it's processed on direct instruction, and what comes out is a catalog and annotations, not the recordings themselves.

Transcribing and cataloging audio at this scale has already been proven, not prototyped: 66,000+ hours of real audio recordings processed on live archives.

Objections

"Client material is someone else's intellectual property" — processing doesn't change rights to the material and doesn't publish it; the result is an internal catalog for the studio itself.

"We already remember what's where" — that works while the archive is small; it stops being true after a few hundred sessions and a couple of staff changes.

First contact

A pilot on one client's archive spanning several years of sessions — an annotated catalog with take/version identification. The decision on access to a session archive sits with the studio owner or director, not a line sound engineer.